Tuesday, October 23, 2018

The Blackmail Seduction - The Blackmail Seduction II

The Blackmail Seduction began their musical journey in
Minneapolis, Minnesota and has since relocated to the Los Angeles area, but
there’s a surprising amount of heartland influences making their way into
band’s songwriting. The band’s second self-titled album, The Blackmail Seduction II,
has an interesting mix of sounds and textures while maintaining its focus on
well constructed tracks with a sharp lyrical bent. Lead vocalist Jess
McClellan’s songwriting for The Blackmail Seduction has a strong
autobiographical suggestiveness, but it’s well rounded enough to encompass an
universality possessing across the board appeal. It’s quite a feat to balance
clearly personal songwriting with mass market punch, but The Blackmail
Seduction hits its mark with style time after time on this release.

“Dead Girl” builds to a steady boil, but The Blackmail Seduction
keeps a firm grip on the reins throughout the song and never overplay.
Newcomers to the band’s sound and songwriting will note how, despite
McClellan’s songwriting dominance over the band’s material, they never fail to
play as a cohesive unit. Newcomers will also gravitate towards McClellan’s
emotionally powerful voice. Despite the emotiveness of his singing, he has an
edgy rock tone in his voice that helps give it the right amount of attitude.
“Tell the World” takes that to the next level with a forceful rock sound quite
unlike anything else on The
Blackmail Seduction II. Troy Hardy and McClellan’s guitar playing
comes together better on this song, arguably, than anywhere else on the release
and even unveil a double guitar attack different than anything else on the
release.

“She’s Leaving Home” has a much more pensive demeanor than the
preceding song and brings new sounds into the band’s identity, but the most
striking aspect of the song for me comes across in the stately pace set rock in
the song. There’s ample melodicism as well and the backing vocals during the
song are critical to the song’s success. “Visiting Hours” shows us another turn
in the band’s musical personality and has a more muted air than any of the
aforementioned songs including “She’s Leaving Home”. I’m especially impressed
by McClellan’s singing during this song – one can easily assume this song is
ripped from the pages of his autobiography, but it isn’t difficult to relate to
this song. He really lays it on the line with this track and it’s an
invigorating listening experience.

The Blackmail Seduction has an uphill climb in the modern
musical landscape, but I remain a believer that sincerity can still carry the
day for listeners. You can’t help but respond to their obvious investment in
these songs and there’s never any sense of the music or sentiments feeling
forced. Instead, The
Blackmail Seduction II hums from the first and doesn’t have a
single apparent lull. It’s a more than worthy successor to the band’s debut and
sets them on a course for even greater success in the future. Jess McClellan
and his cohorts are poised for great things on the back of genuine talent.